葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast

Podcast听写来源NP福睿斯的 “Pop Culture Happy Hour”
特别欣赏他们对各类影片/影视剧/文化娱乐的斟酌 一方面学俄文也是为着和同事聊天时 能够有高档的谈话的资料甩出去..

原著地址

出品人对影片法学的解释是:羞愧(Shame)让大家与爱渐远。
制片人最初对将fart这些话题搬上海高校荧屏以为惭愧,恰好最终电影呈报了我们的躯干羞愧Body
Shame,所以天然地,出品人前面一个的这种羞愧就融合到了影视中。
末段成为:由我们羞于与社会风气分享的事物和大家的身子羞愧,来钻探怎么样是全人类,什么才是活着。

葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast。第叁重播Call Me By Your Name是在SonyStudios的放映室。坐在COO右侧小编一身紧绷,不恐怕完全沉浸在那之中。后来读完随笔,认为是“相爱的人絮语”的最佳讲解——这种能够敏感细腻的青春感令人扑朔迷离(纵然后来剪辑AndreAciman的搜罗,让给对这个人非常不满)。后来第三次在家里看,被全然引发不能够自拔,一贯沉浸在OST里。那几个Podcast让本人更加好能用言语去解释自个儿对那部片/书的接头,多谢商议家们。

Interview: Armie Hammer, Timothée Chalamet and Luca Guadagnino on What Made “Call Me By Your Name” Such a Special Film

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Director Luca Guadagnino with Timothée Chalamet and Armie Hammer. Photo
courtesy of Sony Pictures Classics.

Many of you might remember the old and beloved film called “Love
Story” written by Erich Segal (also based on his novel) and gloriously
directed by Arthur Hiller. As a quick reminder – it is a tragic love
story about Jenny and Oliver who come from different backgrounds.
Their journey begins with high anticipation of a beautiful life ahead
of them but is cut short tragically.

There is a reason why I have reminded you of Hiller’s film before
writing about Luca Guadagnino’s “Call Me by Your Name”. There are
several parallels I can draw between these two films: both are based
on novels;  both have unforgettable soundtracks and splendid
storylines; flawless performance in both films shapes subtly the
relationship between two individuals. Once you watch Oliver and Elio
(portrayed by Armie Hammer and Timothée Chalamet) on the screen, I’m
sure you’ll wish that all love stories are told in the same
uncompromising way.

葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast。I did not mention anything about the gender of the characters on
purpose. This film is shot and narrated in such a way that it does not
matter at all. “Call Me By Your Name” talks about love and respect.
And I believe prejudices will always have a shorter life to live.
Every human being is entitled for a right  for love and to be loved.
Nobody can take it away – now or ever. Thanks to “Call Me By Your
Name” for capturing it in such a humble way.

During Toronto International Film Festival, I had a great pleasure to
attend a round table interview with Luca Guadagnino  – the director of
“Call Me By Your Name” and the actors Armie Hammer and Timothée
Chalamet. I had a chance to ask questions to give me a better idea
about behind-the-scenes of the most fantastic and magical film of the
year.

你们新疆中国广播集团大人也许会记得埃里希西格尔(Erich

Swiss Army Man directors: how we accidentally made a gay necrophilia
movie

葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast。主持人 Linda Holmes; Glen Weldon; Steven Thompson; Bob Mondello

Segal)(也是依据他的小说)所写的一部名称为“爱情故事”的老电影,并由Arthur·希勒光荣地执导。作为叁个高速指示

那是三个有关詹妮和奥利弗来自分化背景的喜剧爱情传说。他们的旅程始于对她们前方美好生活的中度期待,但不幸地被切断了。

有三个缘故让自家在写关于LucaGuadagnino的“用你的名字呼叫作者”从前提示您Hiller的电影。小编得以在这两部影视中找到两种相似之处:都以依据随笔; 都有令人难忘的配乐和美妙绝伦的典故剧情; 两部影视的精粹绝伦表演神奇地作育了多个人里面包车型客车关系。一旦您在显示屏上见到了奥利弗和埃利o(由Armie
哈默和TimothéeChalamet所描写),笔者相信您会期待全体的爱情传说都是同样不低头的主意被报告。

本人从未提到任何关于故意使用角色的性别。那部电影是以那样一种方式拍片和描述的,它根本不主要。“通过你的名字打电话给本人”争辨爱和尊重。作者深信偏见总是会缩水生活的寿命。种种人都有权获得爱和被爱。未有人方可把它拿走

  • 明日或过去。谢谢“通过你的名字呼叫小编”以这种卑微的主意捕捉它。

在孟买国际电影节时期,作者特别欢跃地在场了与Luca Guadagnino–“Call Me By
Your Name”的监制和明星Armie
哈默和TimothéeChalamet的圆桌访问。笔者有空子建议难点,让自个儿更好地打听一年中最美妙和最神奇的电影和电视幕后好玩的事。

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Timothée Chalamet as Elio and Armie Hammer as Oliver. Courtesy of Sony
Pictures Classics.  

MOVIEMOVESME:  My first question is to you, Me. Guadagnino. Luca.
What has inspired you to adopt André Aciman’s novel into a film?

Luca Guadagnino: I think the reason of making this movie for me
was really and literally to making with the people I decided to make
it. And not because the book didn’t inspire me but my approach to the
book was the one from perspective of producer. And I was a producer
until I became a director, but I was a producer for many years. So I
never had this kind of tension to all the book, like I want to tell
this story. And then when thing collided together, and they said, do
you want to do this movie and I said yes if I can do it with Timothée
Chalamet and Arnie and Michel Stoolberg and the rest of the cast. So
it was about for me the possibility of being with them.

MOVIEMOVESME:作者的率先个难题是您,小编。Guadagnino。Luca。什么激发你将Andre阿克曼的随笔融合影视中?

Luca
Guadagnino:
笔者感到为本人制作这部影片的案由其实是和自家决定创设的人打交道。而不是因为那本书没有启发我,而是笔者对那本书的视角是从生产者的角度来看。直到作者产生发行人以前,笔者直接是制片人,但自己多年来平素是制作人。所以本人历来未有对这本书以为恐慌,就好像本身想讲那个轶事同样。然后当事情彼此碰撞,他们说,你想不想拍那部影片,我身为的,假诺本人能够和TimothéeChalamet,Arnie和Michel
Stoolberg以及任何明星合作。所以本人想要和他们在协同的也许。

MOVIEMOVESME: And, Timothée, what kind of work you both needed to
do in order to maintain that great chemistry which turned into one of
the best and greatest love story?

Timothée Chalamet:葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast。 Thank you. There was a massive amount of
vulnerability and openness and exposing yourself and emotions and all
of that. There was such a requisite amount of that that was needed to
make this movie work, that it honestly wouldn’t have worked if we
didn’t have the immense feeling of safety and protection on set with
each other, with Luca, with the crew with everybody around. There was
never anything happening that felt unsafe or felt like it violated our
trust of, I mean the entire process felt like we were not only in the
best hands that we could possibly be in, but that we were also taken
care of and protected in such a way that not only did we feel
comfortable in sort of opening ourselves up and exposing that, but I
mean, honestly we wanted to.

MOVIEMOVESME:Timothée,为了保障这种成为最棒最宏伟的爱情传说的皇皇化学品,你们都急需做哪些工作?

TimothéeChalamet:感谢。有恢宏的亏弱性和开放性,曝光你自身和心理,以及有着这一个。制作那部电影供给自然的必不可缺数量,要是我们未有相互的宏大安全感和敬重感,Luca与机组职员一齐专业时,它其实不会收效与周边的各类人。一贯未有发生过别的以为不安全或以为违反大家相信的职业,小编的意思是一体进程认为大家不止处于大家或者处于的特级状态,并且大家也饱受了招呼和保证那样一种方法,不仅仅让大家备感安适,并且让大家敞欢悦灵,但本人的情趣是,大家千真万确地期望。

葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast。MOVIEMOVESME: How did the shootings go? How was it to shoot a film
in Italy?

Timothée Chalamet: The opportunity to shoot in Italy, which on
another project would be the biggest reason to do something, but on
this was almost the smallest, because above that was the opportunity
to work with Luca and because I had seen “I Am Love“ before I even got
the chance to meet with him. And then after being attached to “A
Bigger Splash” came out during that period, the opportunity to work
with Armie Hammer, who people of my generation, the social network,
that’s a really formative film Autzman Swartz material that holds such
a special place in so many people’s hearts and James Ivory’s
screenplay and getting to work with all of these different facets. And
trusting Luca from films past incorporate just the coolest and most
innovative ideas in people.

It wasn’t a surprise, and yet it was an awesome surprise when he said
that Sufjan Stevens had made music for the film because Sufjan, again
for people my age – I guess people any age – he’s a brilliant,
brilliant musician. So to have his music for the film and have it
while I was shooting during the last scene, we had it playing while we
did it, it was challenging, and yet it all went very smoothly.

葡京网上开户:Coming-of-age, First Love, Helpless Obsession — Podcast。MOVIEMOVESME:枪杀是怎么发生的?怎么样在意大利共和国拍录摄像?

TimothéeChalamet:在意国油画的机会是另叁个类别的最棒木斯由,但在那上头大致是微小的,因为地方是与Luca同盟的机遇,因为自身曾看过“小编很爱“在自家还尚无机遇与她会见在此之前。然后在老大时代出现“更大的飞溅”后,与Armie
哈默一同职业的机遇,小编的这一代人,社交互联网,那是三个确实的成型电影Autzman
Swartz材质,在如此一个新鲜的地点重重人的心和詹姆斯Ivory的脚本,并开首与持有这几个分化的地方同盟。从过去的电影中相信Luca将最酷和最具创新意识的主见融合大家的视线中。

那并不令人始料不如,但当她说Sufjan
史蒂Vince为那部影片制作音乐时,那真是贰个耸人听新闻说的欣喜,因为Sufjan对自个儿这一个年龄段的人的话也是这般

  • 作者猜他们是另外年龄的人 –
    他是一个人雅观的,特出的音乐家。因而,当自个儿在终极一幕中拍录时,为她的音乐营造音乐,并在拍录时播放了它,大家在播放时播放了它的音乐,那特别富有挑衅性,但整套都很顺畅。

MOVIEMOVESME: People often ask questions about filming the love
scenes. I wonder how it feels the moment when the director calls
“cut”? How the two of you reacted?

Armie Hammer:We’d keep going.

MOVIEMOVESME:大家时时会问关于拍录爱情场景的主题素材。小编想领会发行人称之为“剪辑”的每29日认为到怎样?你们多个人的反应如何?

Armie Hammer: 大家继续。

MOVIEMOVESME: You’d keep going? I was thinking there’d be an answer
like that in there somewhere, but I can imagine it’s a complicated
thing. You must have a fairly loose relationship on set with somebody
that you have to pretend to have a deep relationship with.

Armie Hammer:There’s a lot of intimacy in this movie, but the
intimacy that seemed harder or more challenging wasn’t the physically
intimate stuff, it was the emotionally intimate stuff. It was being
face to face with someone on camera with a camera extremely close and
feeling like you are in a place where you can be vulnerable, and you
can … you know, it’s funny, if you’re making a movie and you have an
outside perspective of it, it probably looks completely ridiculous.
Everything that’s going on, people rushing around, people this and
that, people yelling out terms you have not idea what they’re saying,
what they actually mean.

This was an experience where I remember when we had intimate scenes
between us, whether they be in bed or wherever, the thing that really
was a big moment for me was we finished one of the takes and Luca
called cut and I remember looking around, because I wasn’t wearing any
clothes, and I remember looking around and sort of feeling exposed.
And I looked over at the sound guy and he was just holding the boom
like usual and then I looked over and the script supervisor had her
book like usual and the guy at the camera was doing everything like
usual and the focus boy was doing everything like usual and it hit me
this is doing our job. This is the same as that scene, that is the
same as that scene, let’s do it again. And then-Yeah. But more than
that it was like I’m so happy this is all part of this beautiful
experience that we’re doing. I remember at one point we finished
shooting a scene and someone was like do you want a robe and I was
like no, I’m okay. And they were like are you sure? Yeah, I’m okay.
You know you just … any fear, anything that was built up by it was all
in my head and as soon as we started it all went and away and just
became this beautiful, natural part of it.

Armie
Hammer:
 那部影片里有无数恩爱的,但就好像更难或更具挑衅性的恩爱不是亲呢的事物,它是心境上亲近的东西。那是与相机上的有些人面临面,相机特别相近,感到就疑似你处于八个轻易碰到重伤的地方,并且你能够……你理解,那很有趣,假若您正在拍影片,何况你有一个它的表面视角,它可能看起来完全错误。发生的整整,大家奔忙,大家那样那样,大家大吼大叫你不清楚她们在说怎么,他们其实的乐趣。

Fancy catching a moving, beautifully shot drama about loneliness, shame
and the need for human connection this weekend?

G: (Film and book) They’re both about longing. They’re both about this full-body ache of
first initial obsession with somebody else. Romance is not my jam
because there are only so many ways two people can come together. That’s
true in life. It’s certainly true in movies because it’s just a matter
of which cliche you lean on, right? It’s the grand, sweeping, romantic
gesture, the love triangle, the funny friend, the meet-cute… All of that
stuff. That’s in romance in particular. That’s true in any genre — just
stuff you have to lean on, a storytelling infrastructure. The reason
this film, and this book hit me so deeply is because of representation,
not just because there is queer desire on screen — and I experience
queer desire — but representation has
an aesthetic quality to it. When you start to tell the story that has
not yet been told, you’re forced, as an artist, to innovate, to subvert,
to interrogate, to make something new. And it’s these two
characters, in this very specific time, like they do not have access to
the storytelling tropes that we’ve seen millions of times — ain’t
nobody standing outside, nobody else’s outside the window with a boombox
in this movie because they can’t. (The story sets in ‘83 in a very Roman
Catholic Italy.) Everything that is communicated between these
characters, certainly at the beginning of this film, has to be coded,
layered, nuanced. And that is just inherently more interesting.
Representation means better art.

那是一段经历,作者记念大家之间有密切的场所,无论他们是在床面上依然在任哪儿方,对自作者的话实在主要的说话便是我们成功了其中三遍比赛,而Luca称为切入,小编回想到处张望,因为本身从不穿任何服装,作者纪念环顾四周,认为揭发。然后自个儿瞧着十三分声音的东西,他只是像现在同等举起热潮,然后笔者看了一眼,剧本首席营业官像过去一样拿着他的书,镜头里的实物像将来同一做着整个事务,主旨男孩做的整个都像平时,它打作者,那是我们的办事。那和十分地方一样,就是那多少个场地,让大家再来二次。然后

是的。但更重视的是,俺感到到特别欢娱,那是大家所做的光明体验的一有的。小编回想有二回我们拍完了三个面貌,有人就像你想要一件长袍,而自己是否,小编没事。他们就像您规定?是的,作者有空。你明白您只是……任何恐怖,任何由它整合的东西都在自小编脑海中,只要我们伊始,一切就流失了,并变为这一个雅观自然的一局地。

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Armie Hammer as Oliver and Timothée Chalamet as Elio. Courtesy of Sony
Pictures Classics.  

MOVIEMOVESME: Mr. Guadagnino, could you tell a bit about your
collaboration with James Ivory? Did you approach him or how did the
collaboration started?

Luca Guadagnino: I’ve known James for many years and we’re friends
before being collaborators and it was a chance of life. Like he was
coming to see me in Crema many times and we both were involved into
this movie as producers and then one day because the movie wasn’t
happening without directors, we said why don’t we try to imagine the
way we would do it and it was like snapping peas at the kitchen table
that lead us to writing this great in really almost a moonlighting
fashion. It wasn’t a job it was the chance to be together in doing it.
I grew up really worshiping artists in my life. I come from a simple
family in Palermo, but I always dreamt of meeting the artists I adored
and I admired and one of the reasons why every time I complain with
something for myself about my life I have to be severe with myself and
tell my self you are luck because you have the chance and the luck to
have fulfilled your adolescent dreams of meeting the artists you love.
And even to dram making things together, so it’s great, it’s a
privilege.

MOVIEMOVESME:Guadagnino先生,你能否介绍一下您与JamesIvory的搭档?你有未有近似他或搭档是怎么初叶的?

Luca
Guadagnino:
自身认识詹姆士多年,在改为同盟者以前大家是相恋的人,那是贰个生活的空子。就好像他在克莱玛数次见到自个儿一样,大家四个人都是制片人的身份参预了这部电影,然后有一天,因为那部影片不是一向不监制的情景下发出的,大家说怎么我们不希图想象大家会咋做它就如在厨房餐桌子的上面掰豌豆,那产生大家的确差没多少是以一种月光的办法来写那篇小说。那不是一份专业,而是有机遇在联合专门的学业。小编成长的时候真的很崇拜音乐大师。小编来自巴勒莫二个轻易易行的家庭,但笔者总是期望见到本人钦佩的音乐家,小编很崇拜的原因之一,为啥每趟自己为本人抱怨本身的活着时,我必须对自己认为严苛,告诉本身要好你是幸好的,因为您有机遇,幸运地达成了你满意你所爱的美术师的常青梦想。乃至为了共同努力,这很棒,那是一种特权。

MOVIEMOVESME: How important is the period to this story? Not just
to the acceptability of the relationship, but also in regards to the
society.

Luca Guadagnino: But I don’t think this is a movie in which we are
putting a light on acceptability or forbidden love. I think that any
movie lives in the eyes of who watch the movie and in their way of
watching the film, so I don’t want to censorship anyone perspective,
but from my perspective, this is not a movie about forbidden love at
all. First of all, I happen to be a person who enjoy the physical
company of a man in my personal life. And so there is nothing
forbidden about that to me and so it’s the most normal and accessible
and suiting thing I can happen to do in my intimacy. So it’s foreign
to me to love or to make love to a man it’s forbidden. And at the same
time, I don’t think that Elio and Oliver will live in the space in
which they are living, hiding. If they put themselves into an alley
instead of putting themselves in front of a large group of people
staring at them is because they save very much the moment of their
intimacy. So the idea of this film and I would say also the idea of
Asimov’s book doesn’t lie in the cannon of the forbidden love and the
constrictions of society.

MOVIEMOVESME:这几个故事的一代有多首要?不独有是事关的可接受性,也涉嫌到社会。

卢卡 Guadagnino:但作者不认为那是一部大家正在关心可接受性或禁止爱的影片。小编感觉别的电影都在见到影视和见到录制的人眼中,所以作者不想调查任哪个人的见解,但从自家的角度来看,那不是一部关于禁止爱情的录像。首先,小编碰巧是一个欣赏本身个人生活中男生的实体集团的人。所以对作者的话未有别的禁止,所以那是本身相亲接触时最广大,最有益和最符合的事务。所以对于自个儿来讲,爱或取缔叁个娃他爹做爱是很不熟悉的。同一时间,笔者不感觉Eli奥和奥利弗会住在他们所居住的空中里,躲藏起来。假使他们把自身成为一条街巷,并不是把团结放在一堆瞅着她们的人眼前,那是因为他们那多少个节省他们亲密的时刻。所以那部影片的主见和自家也会说阿Simon夫的书的眼光并不在于禁止恋爱的火炮和社会的束缚。

MOVIEMOVESME: How did you choose the actors or how did you come on
board because the chemistry is so obvious…

Luca Guadagnino: Because I had great chemistry with them. I’m
ignorant enough to think that if I have great chemistry they will have
great chemistry between them. But I wasn’t jealous of their chemistry.

MOVIEMOVESME:你是怎么选取影星的,大概你是如何步入的,因为化学进度非常分明……

Luca
Guadagnino
:因为笔者对她们有很好的赛璐珞反应。小编并未有丰裕的认知,固然本身有很好的赛璐珞反应,他们之间会有很好的赛璐珞反应。但本人并不嫉妒他们的化学反应。

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Director Luca Guadagnino. Photo courtesy of Sony Pictures Classics.  

MOVIEMOVESME: I was wondering, people refer to it as the gay love
story movie. Do you wish people would take away that tag and see it as
a summer love story? I love that Luca said in the press conference –
it might be a bisexual movie perhaps. And is that important in the
time where in America the president is going backwards, especially in
these terms of gender identity, sexuality, so forth?

Luca Guadagnino: I think the president is a bitter person who is
thinking of his own business all the time and he doesn’t have the
poetic hope to see how beautiful is it to be unbiased and able to love
no matter what is your gender. So I think in this way, maybe this is a
political movie and it’s a sort of invitation not to be like this
president. Probably should put that in the bio.

 Also want the movie to be very, very funny? And to preferably feature a
flatulent corpse with a love-guided compass erection, played by former
boy wizard Daniel Radcliffe?

L: The film to me is so tone-forward, if I can say that, rather than
being plot-forward or even dialogue-forward, it is tone-forward, it is
tone-forward. Does it have kind of the same quality as the book in that
way?

***MOVIEMOVESME:作者想知道,大家把它称作同性恋爱情传说片。你是还是不是希望大家拿走不行标签并将其身为夏天爱情趣事?小编很心爱Luca在情报揭橥会上说的

或许那大概是一部双性恋电影。在美利坚同盟国总理倒退的时日,那一点十二分关键,非常是在性别承认,性等地点呢?***

Luca
Guadagnino:
本人觉着总统是一个缠绵悱恻的人,他径直在虚拟自个儿的职业,他从来不诗意的梦想观望,无论你的性别是怎么,他都以仁同一视,可以爱的。所以作者认为,也许那是一部政治电影,那是一种不应有改成那位总统的诚邀。可能应该把它坐落生物中。

MOVIEMOVESME: To the actors, what is the biggest thing that you
learned from each other during the filming?

Armie Hammer: Stop me if you want to. Timmy has such a rich and
beautiful almost complicated inner life that is so vibrant and so full
and he’s able to keep it just under the surface in such a beautiful
way where … it almost feels like while some things he is aware of as
we all are, it’s almost like he’s just not aware of some things. And
that openness and honesty is really, it’s great. I feel like maybe
sometimes the tendency might be to try to guard yourself or protect
yourself or hide. And I think watching Tim live in the scenes and
watching it affect him, it was almost like an acting exercise.

Timothée Chalamet: Ah, man.

Armie Hammer:Just hope my breath was goo.

Timothée Chalamet:  Yeah. I said this before. I feel like what
I’ve learned with the great actors I’ve worked with, whether it’s
Armie Hammer or Steve Carell or Louis Rabe, those lessons are almost –
they’re hard to verbalize. It’s almost like subconscious or something.
You take on the habits of other actors or the way I saw Michael
Stuhlbarg take notes in this film, or the way I see Armie rehearse a
scene before we go to it, those things stay with you. For me as it
relates to Armie, the way he carries himself as a man, the way he
carries himself as a father, the way he carries himself as a husband,
it’s been such a crucial roadmap for me. The cliché of this business
is that those road maps aren’t really there and those that are there
are negative or devastating in some fashion. And I’m so lucky, you
know, I did a film in LA this past year. LA’s never been a place that
I feel very close to, but because Armie lives there, I felt like I was
welcomed in with open arms and was introduced to a number of friends
now that I wouldn’t have without him. And also, like I said, as a
husband, again not to put pressure, but there is such love in this
marriage between he and Elizabeth and there’s such love between Armie
and his daughter, Harper, it’s very inspiring for me. It gives me hope
for myself that love, being in love, marriage, these things don’t
necessarily have bad or tragic or sterile endings; that these things
can blossom beautifully the way it does in “Call Me By Your Name”.

Luca Guadagnino: I wanted to say something about Armie as a
collaborative director. You can go up. Armie is a great catalyst. He’s
like my partner in making sure the movie’s following a lead of
optimism and concentration and generosity, I think. Not to take
anything off of you my love, but it’s just that I found that
partnership in making the movie with Armie, apart from the rest of
which is him acting as Elio.

MOVIEMOVESME:对于歌星来讲,在拍照进度中互相学到的最重视的东西是怎么样?

Armie
Hammer:
假使您想要阻止本人。蒂米具有那样丰硕而精彩的繁杂内在生活,如此充满活力,充满活力,他能够以如此奇妙的措施将它保持在外表之下……大致认为到他在开掘到一点事情的还要,因为我们都是,那差十分的少似乎她只是没有发觉到有些事务。这种开放和赤诚是真正,那很好。作者觉着有的时候,偏侧恐怕是设法爱惜自身或保卫安全自身或潜伏。笔者以为看Tim活在气象中,看着它影响着她,那大约就像是演技同样。

TimothéeChalamet:啊,伙计。

Armie Hammer: 只希望本人的透气是咕。。

TimothéeChalamet:是的。笔者此前说过。小编以为似乎小编与自己搭档过的壮烈影星学到的一律,无论是Armie
哈默依然Steve Carell依旧路易斯 Rabe,这个学科都大致 –
他们很难用语言表明。它差不离仿佛潜意识或任李新发西。你接受任何歌星的习于旧贯,或许自身来看迈克尔Stuhlbarg在那部影片中著录的艺术,可能自身看到Armie在上台前排练五个情景的方式,那一个东西就在你身边。对笔者来讲,因为它关系到阿米,他把温馨视作一个老公的点子,他把团结当做阿爹的秘诀,他把本身作为孩子他爸的章程,对本身来讲那是三个格外重大的门路图。那项专门的工作的陈词滥调是,那么些路径图并非真的存在,那多少个在一些地点是负面包车型大巴或破坏性的。小编很幸运,你知道,笔者在过去一年在法兰克福拍过一部影片。华沙从不是一个笔者感觉特别相近的地点,可是因为阿米住在这边,作者感觉本人像打开单臂受到招待,以往早就被介绍给一部分仇人,未来作者不会并未有她。还或然有,就好像自身说的那么,作为二个相恋的人,屡屡回不要施压,可是她和Elizabeth之间的这种婚姻存在着这么的爱,阿米和她的闺女哈珀之间有这么的爱,那对自己的话极度振奋人心。它给了自家盼望,爱情,恋爱,婚姻,那一个事物不必然有坏的或磨难的或无菌的后果; 这一个东西得以像在“通过你的名字致电笔者”中那么开花。作为贰个相爱的人,再度不要施压,但是她和伊Lisa白之间的这种婚姻存在着这么的爱,何况阿米和她的丫头哈珀之间有诸如此比的爱,那对自己的话非常振奋人心。它给了自家盼望,爱情,恋爱,婚姻,这几个东西不必然有坏的或祸患的或无菌的后果; 这几个东西得以像在“通过你的名字致电小编”中那么开花。作为三个情侣,再一次不要施压,不过她和Elizabeth之间的这种婚姻存在着这么的爱,何况阿米和她的外孙女哈珀之间有那样的爱,那对自家的话极度振奋人心。它给了自家盼望,爱情,恋爱,婚姻,那几个东西不必然有坏的或苦难的或无菌的后果; 这个东西得以像在“通过你的名字致电小编”中那么开花。

Luca
Guadagnino
:作者想谈谈Armie作为同盟老总。你能够走了。Armie是二个很棒的催化剂。小编想,他就如本身的合营友人同样,确定保障电影的乐观主义和专注和慷慨。不要把自个儿的爱带走任李菲西,不过本人只是开掘了与Armie同盟拍影片,除了那几个之外就是他扮演Elio。

MOVIEMOVESME:  So I wonder, as you were trying to learn about your
characters – Elio or Oliver – what do you think they found in each
other that they were so fond of? What made them fall in love with each
other?

Armie Hammer: Go ahead, Timmy.

Timothée Chalamet: I think it’s … I think it would be almost
indescribable. I don’t think it’s necessarily a shared activity or a
shared passion, not that those are the requisites of love, but
sometimes they are. I don’t think that’s necessarily the case here.
Correct me if anything I’m saying is not of vision, but I think it’s
almost more organic. It just flowers. One of my favorite part of Andre
Aciman’s book, and we did it in the film too, is that Elio’s reaction
to Oliver at first is that he’s actually a little put off and it’s
like who’s this guy who’s walking around saying later. And from that
place it lands in a romantic spot, but it doesn’t begin there. So,
again it would almost be difficult to say what it was that brought
them together.

MOVIEMOVESME:所以自个儿想知道,当您筹划了然你的剧中人物 – Elio也许奥利弗时 –
你感到他俩在对方开掘她们喜欢怎么样?是何等让她们互相坠入爱河?

Armie Hammer:继续吧,Timmy。

TimothéeChalamet:笔者感觉那是…作者以为那大致是不可能形容的。笔者以为那不一定是同步的移位或伙同的Haoqing,亦非这一个是爱的需要条件,但一时是这么。笔者认为那不一定是这种气象。假设小编所说的任何事物都不具有真知卓见,请改正自个儿,但本人以为它大概更有机。它只是鲜花。安德雷Aciman的书中自己最快乐的片段之一,大家在影视中也是这么做的,Elio对奥利弗的反应开端是因为他实在有一点点耽误,就类似这厮走到何地说的那么。从拾壹分地方它落在三个风流的地点,但它并不从那里初叶。因而,再度说出将它们集中在同步的剧情差十分的少是出乎意料的。

If so, the film you’re looking for is Swiss Army Man, the brilliantly
bizarre new movie from first-time feature directors Daniel Kwan and
Daniel Scheinert.

G: If anything to me, the film feels more swoony and romantic because
the book is told from Elio’s point of view. He is a very interior
character. He is introvert, and he thinks a lot. The entire book is
about the signals that he’s sending off that he thinks he might not be
able to getting back. There’s a whole lovely runner in the book about
how he starts to impute all these motivations onto the color of bathing
suits that Oliver is wearing that day. It feels so true. Now, a lesser filmmaker, a lesser screenwriter
would have shunted all of that work, all that lovely prose, just done it
in voiceover. But instead it’s all happening on their faces. It’s all
happening in the acting. It’s a big gamble, but it pays off
hugely. You just feel the fact that they’re not connecting when
they desperately want to.

Washed up on a deserted shore, Radcliffe’s corpse, Manny, comes into the
life of Hank (Paul Dano) at a crucial moment: the lonely shipwreck
survivor is about to kill himself. After Hank realises that he can use
Manny’s gas-propelled body as a jet ski to escape the island, he decides
to keep him around – and a tentative friendship between the two forms,
as Radcliffe’s character slowly becomes more “alive”, regaining the
power of speech.

B: I saw the movie and thought this is wonderful, and I’ve got to read
about these characters. I got like 100 pages in, and I was still saying
to myself, this is not possible. You cannot turn this into a movie. This
wouldn’t work because there’s almost no dialogue in the book. Nobody
says anything. Nobody connects for the longest time. Which makes this
movie fascinating. It’s gorgeous to watch. I think in a lot of respects,
it does the book a great service in making you wait, making you wait the
way that Elio has to wait in the novel for a sign one way the other that
something’s happening.

We caught up with the directors behind Swiss Army Man – who are
credited, collectively, as “Daniels” – to find out how they made this
year’s strangest movie.

S: Going into it as a fairly cold audience member, I watched it especially at first in
anticipation of conflict. You’re watching a gay love story unfold in
1983, and as this film unfolds, there is no mention of the AIDS crisis.
There is no gay-bashing. There are no disapproving parents. There is no
judgy teenagers. It is a love
story that is allowed to unfold in a petri dish, and just be about
itself, and be this very touching and romantic story. And the
fact that it’s a story without conflict, really does mean, that relies
very heavily on tone, but it does so beautifully. I thought the
performance of Timothee Chalamet, as Elio, is such an incredibly
impressive performance. It’s not just how much acting he’s doing with
his face. There is a physicality to him in the love scenes that spoke to
my… There’s this almost kind of sheepdoggish quality where he’s
bounding around Armie Hammer, kind of climbing on him awkwardly, and
then kind of pushing him away, and then grabbing at him… It’s like you
have all this physical energy, and all this, you can say lust, but it’s
also just excitement, and that plays out in such a subtle way, but it
was also I saw something very very universal in it, and was really
smitten with it.

Why did you decide to make a movie about a farting corpse? Where did
that idea come from?

B: Because the barriers to them getting together are cultural, but
they’re also internal. They’re external, but also hormonal.

Daniel Scheinert: It’s funny. A lot of the time our ideas come from very
circumstantial kind of situations. So when we first started out, making
music videos together, we’d listen to a song, and think “Okay, so which
of our friends can we cast in this? What have we always wanted to do?
What are our resources?”

L: One of the things that I like about the Armie Hammer performance is
how opaque Oliver is early on. He has a kind of cool guy glibness, or
superficial glibness I should say, that really makes you wonder, is he
paying attention to Elio at all? Is he just a sort of the guy you would
fall in love with at summer camp who would never notice you? They make
it feel plausible, that it could be that, at the beginning. One of the
things I really like about it as a love story is it’s very common in a
love story for there to be one person who’s being fully forthcoming in a
kind of swoony, aggressive way, and one person who is doubtful for
whatever variety of internal and external reasons. The way they play
with those dynamics without specifying to much, the way they play with
those dynamics between these two guys, where their hesitancy is, and
also how they navigate, getting to the point where they are even
acknowledging this is what they’re talking about. There is a scene that
they play around the monument. It’s so subtle how it’s done that you
couldn’t. If you try to explain on paper exactly what’s happening, it’s
all in the performances.

Daniel Kwan: There’s not ever any money so you have to be really smart
about what you’re going to do.

There is this age difference between Elio, 17, and Oliver, 24. This is
an age difference for a lot of people, including me, is uncomfortable a
little bit. It’s certainly something where you have to be very careful
about the circumstances particularly you’re trying to make sure that the
17-year-old is well cared for.

DS: Years ago, in 2011, we were going to Alabama, where I’m from, and we
were thinking about shooting a short film. And my parents live in a lake
town in North Alabama, and we knew that my best friend growing up had a
boat there, so maybe we could shoot off the boat, and there’s a big
lake…

G: Andre Aciman who wrote the novel. He could’ve written the story about
two 24-year-olds. He did not. Or made him an 18-year-old. This
discomfiture we’re experiencing with this movie is part of the energy of
this movie. The fact that Oliver is holding himself back. He’s doing
that for a reason, that creates this longing even more. It’s messy. It’s
intentionally messy, but we’re supposed to feel that. It’s about
coming-of-age, first love, that helpless obsession. And again, it’s
another obstacle. Oliver keeps saying, no, no, and eventually said Yes.
We’re conditioned by decades of
romantic narratives to want these two people to get together, and
the fact that one of them is 17 is messy. The story and the movie go out
of way to establish that intellectually at least they’re equals. Elio is
a very prodigious, precocious, smart, intelligent. It doesn’t mean that
they’re emotionally right. People who say, look, this is still an adult
and a teenager, have a point.

And so Dan pitched to me: “What if there’s a guy who’s stranded in the
wilderness, who finds a corpse and feeds it beans, and it farts across
the ocean while beautiful music plays and he cries?”

B: And it’s made more complex in the movie that it was in the book is
because Armie is himself not 24, he is 31. He reads older, and that
makes it visually tricky. Timothee Chalamet is 21, and playing 17, but
persuasively playing 17.

DS: I immediately regretted pitching. I was thinking “Oh no, this is a
horrible idea.”

H: But I think it’s okay to live in that place where this is messy. This
is a messy situation that’s part of the story that this is a messy
situation that’s one of the reasons that it plays out the way it does.
And I don’t think you have to feel like I’m totally comfortable with
this to hear the story and take the story and not feel like the story as
a story of exploitation of a teenager by an adult.

DK: It kind of became a recurring joke. The joke was that it was the
worst idea we’d ever come up with. We’d never make that and put it in
theatres across the world… And then it kind of grew. We started coming
up with more of a story. And we though, what if we took that really
stupid idea and poured our hearts into it?

G: I think it’s fascinating that this is a movie when you talk about it
as a messy love story. It is fascinating that it is a messy love story
entirely because of internal forces instead of external forces. It
really removes so many of the traditional external forces.

Once it turned into a buddy film – that when we really fell in love with
the idea and started devoting time to it. But that was a few years
later.

S: That scene toward the end when they were in Rome and it’s deserted,
it’s the middle of the night, they were in the alley, happy, and horny.
We, queer audiences, are conditioned to
experience that, and then wait, wait for the bashing, wait for the
police, wait for disaster to strike. When we do this to
ourselves, when queer artists make queer movies, we still do that —
there is a punishment that has to come. And the fact that it doesn’t in this
particularly movie feels like nothing else than a gift. As much
as this film would come under criticism of depicting an adult and a
teenager, there a lot of gay critics who want it to be more sexually
explicitbecause Guadagnino is known for movies like “I Am Love” which
use sex scenes to characterize people. That’s one of his things. The
fact that we literally cut away to the wafting curtain as soon as these
two get together is just… I kinda wish the movie proves right up — roll
its trousers. Dare to eat the peach, like happens in the book.

At one stage, it seemed as if the movie was going to be a
traditional(ish) love story – Hank finds Manny, who helps guide him
towards the woman he adores. But as it went on, it became apparent that
it was something quite different – more about the relationship between
the two male characters, and about loneliness. Was that always your
intent?

B: My experiences are always floating away to the curtains, uniform, and
my experience as a gay man. I think those beautifully wafting curtains
are part of the beauty of this movie that has everything to do with that
statue coming up out of the deep and looking like it’s just come up from
the swim, or take cradling a fish. There is this fish that is brought
in. And the guy who has caught it brings it in and shows it to Elio and
then takes it to the woman who’s going to cook it, and she cradles it.
She holds it in her arm as if it were a baby and takes it into the
kitchen. And I just thought, that is breathtaking. It is so beautiful.
There are scenes in this movie that are in the movie exclusively to be
gorgeous. It’s just gorgeous. It makes
you feel like you’re in Italy in the middle of the summer. They
actually spent 11 years trying to make the movie unable to do it because
they encountered some difficulties in the summer, and it really can’t be
filmed in the Fall in Italy. It just wouldn’t work. My favorite tidbit
of the movie is that at one point the person who’s going to play Oliver
was Shia LaBoeuf. That would make such a different movie.

DK: Well, in some ways, we thought we were making a more conventional
guy trying to get back to his girl story. But the more drafts we wrote,
the more we realised… it sounds stupid when writers say “I listening to
my character”, but that’s how it ended up happening. We could tell that
Hank and Manny needed each other more than Hank and Sarah ever did. We
just kept rewriting and rewriting, until we allowed them to fall in
love. And once we allowed ourselves to write that, that story really
started to grow and blossom into something worthwhile.